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Posted on June 7, 2025

The Severed Sun – The Blood on Satan’s Claw for Our Time

Dawn Keetley

The Severed Sun (2024) is the first feature film of writer and director Dean Puckett, who has previously directed several documentaries and short films – notably, The Sermon (2017) and Satan’s Bite (2017), both of which explore themes similar to The Severed Sun. Filmed on Bodmin Moor in Cornwall, The Severed Sun follows an isolated community led by a religious leader, The Pastor (played brilliantly by Toby Stephens). The group’s way of living and dress at first suggest that this film is set in the past, but there are modern buildings, slag heaps, industrial ruins – and so perhaps this community is surviving in a near and potentially post-apocalyptic moment (something Puckett has confirmed in interviews). It quickly becomes clear that the community is strictly, even violently, hierarchical, with the uncompromising Pastor as unchallenged leader of the community and the men in the community as rulers in the family. The trajectory of the film is driven by the film’s rebellious protagonist (who also happens to be the Pastor’s daughter), Magpie (Emma Appleton, also brilliantly played). For her resistance – and the film begins with her killing her abusive husband – Magpie is ostracized by her community, labeled a witch. She refuses to be a victim, however, fighting back against the familial and group structures that oppress her and others in the community.

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Posted on May 28, 2025

The Whale God: On the Shores of Folk Horror

Guest Post

Kevin Cooney

Rich in motifs associated with folk horror- from collective derangement to debilitating superstitions- Daiei Motion Picture Company’s The Whale God (1962) depicts a village’s descent into madness in its quest to slay a deified cetacean known as Kujiragami, or the Whale God. Rather than fitting neatly into the folk horror genre, however, the film tells a different part of a folk horror story. The film shows the antecedent estranging events, supernatural or not, often left as background in other films. Unlike conventional folk horror portrayals of late-stage cults and rituals, The Whale God presents a community’s initial struggle and manifestation of social breakdown and collective estrangement, punctuated, as I contend, by a climax or “happening” that redefines the film as folk horror.

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Posted on May 24, 2025

Wild Zero: The Best High Camp Rock ‘n’ Roll Zombie Film You’ve Never Seen

Guest Post

Allison Goldstein

Wild Zero (1999) is an authentically fun and unexpectedly earnest rock ’n’ roll horror comedy that never quite found the audience it deserved. The movie follows Japanese garage punk band, Guitar Wolf (vocalist/guitarist Guitar Wolf, bassist Bass Wolf, and drummer Drum Wolf), as they bond with their superfan, Ace (played by Masashi Endō), and fight for survival during an alien invasion-slash-zombie outbreak.

Director Tetsuro Takeuchi manages to shove gun fights, exploding heads, and B-horror gags into every inch of this 98-minute film. Audiences are treated to a jet-fueled mix of real pyrotechnics and hilarious 90s CGI, along with live Guitar Wolf performances and an overall killer soundtrack – including a fight scene set to Bikini Kills’ ‘Rebel Girl’. Zombie fans will also appreciate the overt nods to classic films, including on-camera references to ‘zombies’ and even name-dropping Night of the Living Dead.

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Posted on May 15, 2025

‘Everything but people’ – Joshua Erkman’s A Desert

Dawn Keetley

A Desert is the first feature film from director Joshua Erkman (who co-wrote the film with Bossi Baker). It has been described as a neo noir / horror hybrid – although, in every way, this film can certainly stand as pure horror. It is quite self-conscious about its horror lineage, and it evokes all the emotions you expect from horror: it’s unsettling, disturbing, shocking, terrifying, and at times repulsive. Its images and, above all, its central devastating trajectory stay with you long after the credits roll. A Desert is a beautiful and devastating film – and, although watching it is at times difficult, it’s also an important film.

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Posted on May 14, 2025

Who Rules? The Elderly Care Home Horror of The Rule of Jenny Pen

Guest Post

Laura Kremmel

The New Zealand film The Rule of Jenny Pen (2024) is an innovative addition to a growing number of films about aging, care homes, and dementia, and it stands out for its lack of supernatural elements as the source of abuse and horror. Like films such as The Manor (2021), terror comes not from the staff but from other residents, alongside the horrors of their own aging minds and bodies. It also joins films like The Visit (2015) and Relic (2020), in which the central threat to the protagonists is aging people with dementia themselves rather than an external demonic force that has possessed them, as we see in The Taking of Deborah Logan (2014). Unlike sentimental family dramas of aging grandparents and parents that are mostly about the emotions of family members, the horror genre expertly explores the shocking and fearful experiences of losing independence and self-reliance. Not only is the space of the care home an uncanny one—and this home seems to be one of the nice ones!—but the body and mind become foreign and disturbing.[i]

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